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Congratulations to Ms. Froustey on earning an opening night cast. I wish I could be there, and hope to hear from others about the production....

I generally agree with Quiggin's statement ["Except for Red Shoes, the Powell/Pressburger films had little distribution in the US where they were considered filmmic oddities, overwrought and creepy in way that even Psycho wasn't."]. However, there are a couple other films by 'The Archers' that are truly classics, imo, and the film community never actually forgot them: Black Narcissus A Matter of Life and Death (Stairway to Heaven) The general public would be a different matter, of course. A Matter of Life and Death has been making the rounds on TCM in the last couple of years, so I expect people are finding out about this unusual film now. And both 49th Parallel and The Life and Death of Colonel Blimp are worthy efforts - well worth seeing. I'll just mention that the Leo Marks who wrote the screenplay for Peeping Tom is the same Marks who wrote the moving "Between Silk and Cyanide", his account of his days as Head of Codes for the British S.O.E. during WWII.

The directors are good about showing a range in the ballets - although I kept noticing little things in 4T's that reminded me of Rubies, or rather, it was evident that Balanchine revisited some steps/effects when he worked on Rubies. The order makes some sense given that the dancers (many appearing in all ballets) grow more exhausted as the night goes on.

Inquiring minds want to know: with Powell out, who led the Shades down the ramp?

Nice comments and insights, Quiggin. I'll admit that the "grunge" scenics in Hummingbird are part of what doesn't thrill me about the ballet. Transforming the look of the set would possible make it a different ballet for me. I don't feel that the current combination is successful. I remain confounded as to why neither Sylve nor Feijoo has 'sponsorship' from a wealthy patron. That's just rude. I'm not questioning the existing sponsorships, but why not Sylve or Feijoo? As if they haven't done enough over the years for SFB!

The funny thing about Balanchine, at least when he was alive, he would often give free use of his ballets to schools and small organizations, even individuals - the deserving. It's an interesting question: what is the royalty cost, and is there some kind of sliding scale with the Balanchine Trust? I also want to know more about the costs of the 'volunteer' orchestra, but haven't been able to find any details...

Thanks for the report, Josette. I very much wanted to see Dances at a Gathering, but I can only afford a coupe trips up to SF this season, so I've opted for the overlaps of Programs1/2 and Programs 6/7 (so I get to see 4 programs with two trips). I've heard nothing but good things about the SFB performances of Dances, so you definitely made a good choice. I saw Hummingbird last season, and though it was interesting, I wasn't bowled over enough to go to the trouble of seeing it again. How do you feel about the ballet as a whole now? [You mentioned Messmer, and I agree that she is missed, and is still a figure of much mystery as no one seems to know what it is she is doing with herself, or intending to do regarding ballet.]

City Ballet Balanchine Spectacular Ballet on this level reminds me very much of intercollegiate sports - many people in the audience are friends or family of the performers, or in some way connected to them, and there is a general feeling of good will toward the organization and its efforts. I don't think anyone is going into these performances blind: just showing up is an act of community support. There isn't the same level of demand that we see with large arts companies - "This better be good or I'm outta here! And I'll have some nasty things to say about it if they've wasted my money!" Rubies For me, the least convincing performance of the three, though still fun to watch the young dancers meet this difficult ballet head-on. Rubies requires speed (and attack), endurance (always), and musicality. There were plenty of moments when the dancers got behind the music or began to waiver from tiredness, but the enthusiasm was there - all the dancers seemed to love being part of this Balanchine showcase. It didn't matter if things weren't perfect - they were going to throw themselves into the fire. The casting choices made sense: Ariana Gonzalez and Stephano Candreva as the principal duet, had enough energy and technique to carry things along. I did feel that the "Tall Girl", Megan Jacobs, was a little lifeless, rather than commanding, in the beginning - perhaps saving herself for the rest of the evening, but she did warm up by the end of the ballet. This being a small company, everyone pretty much dances everything. So the 3 day event has to be exhausting for the dancers. (And I'm not sure how the company would handle any injuries to the principals - I don't get the sense that there is really any backup.) The Four Temperaments I had my trepidations as this ballet began - one of my favorites, and something I don't want to see bad versions of - but it turned out to be a success (and the audience was very appreciative). Kudos to the company for putting on a convincing performance. I got the sense that it had been loving coached by company directors Steven and Elizabeth Wistrich, and Sandra Jennings from the Balanchine Trust. The clarity of the steps was there, and the enigmatic quality of the piece largely came through. They got many of the details right, and the dancers were up to challenge of the ballet's un-classical techniques. The many modernist stage exists of the duos were carefully done - the dancers were trying really hard to achieve the proper effect, and the finale even managed to reproduce that peculiar sense of exhilaration, as the women 'take flight' into the air, that is unique to the 4 T's. I think the company can be proud that they pulled this one off. Walpurgisnacht Last up, and essentially a light romp for the dancers, who at this point must have been pretty darn tired. The ballet doesn't have the depth of the previous two, but is feminine fun, and sent the audience home in a good mood. The standout for me was the dancing of Erica Alvarado, who strikes me as the most physically gifted of the female dancers in this company: she's quick, with lovely, light technique, and flexible (and it probably helps that she is quite petite and can be lifted by just about anyone). Now for the sad part of the evening - no live orchestra! A big part of my enjoyment of the previous year's Balanchine program was the inclusion of a (largely) amateur orchestra. http://www.utsandiego.com/news/2015/mar/05/city-ballet-orchestra-san-diego-demise/ Not surprisingly, there doesn't seem to be money to meet orchestra expenses going forward. A bigger problem for me, is the general lack of interest or will in the community to make these things happen. Want arts and culture? Don't come to San Diego. I also wonder if ticket sales would have been even better if ABT was not performing in LA this same weekend... If you want to read more about this event: City Ballet Preserves Three Treasured Ballets in ‘Balanchine Spectacular’ http://www.sandiegostory.com/city-ballet-preserves-three-treasured-ballets-in-balanchine-spectacular/

Well done, SFB! This is of course SF-centric, but nice to see recognition for these various efforts.

I will make every effort to see American Stories in Seattle - looks like a great program. Square Dance has been at the top of my list of ballets I want SFB to revive, but it may be a long wait. ;)

Mathilde Froustey and Davit Karapetyan dancing Gsovksy's Grand Pas Classique (I believe this was performed at a European gala this past fall): https://vimeo.com/89692523 Enjoy!

I will make every effort ot go (but it will be a busy week for me). They certainly need the support - and the support for these Balanchine programs.

City Ballet's Balanchine Spectacular is back: March 6 - 8, 2015 http://www.cityballet.org/performances/balanchine.php City Ballet of San Diego presents three full-length masterworks choreographed by the 20th century genius, George Balanchine. George Balanchine's ballets are presented by arrangement with The George Balanchine Trust. City Ballet of San Diego is honored to be recognized by The George Balanchine Trust as having the technical skills and artistic quality to present these George Balanchine ballets. Live Music Performed by City Ballet Orchestra, John Nettles, Conductor This year's program consists of: Rubies from Jewels Walpurgisnacht Ballet The Four Temperaments

Yikes! De Sola is still listed for March 1, Program 3, but we shall see then. Lets hope it's nothing more than a strain.

Cute clip of William Forsythe and Katita Waldo (SFB Ballet Mistress) backstage - still working on the details of Vertiginous Thrill: https://instagram.com/p/zjr8X1nrWQ/?modal=true (from Mathilde Froustey)

It would be great to hear from any forum members who might be planning to attend these February performances: http://www.themoscowtimes.com/arts_n_ideas/article/ballet-legend-farrell-brings-balanchine-to-moscow/516469.html

It's been fun hearing your reports, Helene and Sandik - thank you for the descriptions.

I've heard of this happening at numerous companies, and I think it may partly be due to the lack of funds to set up proper support (and support staff). The attitude tends to be, "you've been given this great opportunity, now show us that you deserve it!". And the dancer/new employee ends up wondering just what was so great about this 'opportunity'. ;) It's difficult to move to a new place, especially a new culture, and try to survive on your own. If you don't speak the language to begin with, it can be a nightmare. And regarding Kaysta's statement: Would this have anything to do with short program schedules, and the need to stick with certain favorite dancers (that is, the public's favorites) for those few dates? ABT does a lot of touring, so I would expect that to produce more opportunities, but perhaps Kevin McKenzie doesn't think that way. There does seem to be a bit of "rigidity" to the ABT approach. I'm much more familiar with SFB, and it just hasn't been a problem there for principals to dance starring roles (perhaps more times than they care to). 2015 is actually the first year when there would seem to be more willing female principals and soloists at SFB than parts, but, they've been adding extra dates to the season, and if last year's tour is any indication, there will be lots of extra opportunities there. Where there is a will - and a chance for more money - there is a way.

Always interesting to hear about a dancer's background, and experiences in training and company life. She's not the first dancer to mention the difficulty of getting particular roles at ABT ("sometimes asking is not enough"). It's interesting to contrast that with more 'regional' companies like SFB, PNB and MCB where the principals generally are expected to perform in major roles for each program. It does seem strange that she's never been Giselle or Swanilda.

Thanks for the update, Helene. Was it a fairly full house? And what was the general audience reaction to the various ballets?

Early Square Dance - yeah baby. Not that I love the caller's voice over, but would be great to see anyhow. 13:25 - that's not a complete Square Dance is it? The present day version is about 20 minutes, no? Or is this just a question of versions?

Short video of photo shoot with Julien Benhamou: https://www.youtube.com/watch?v=TF5y2T38ZaQ

I imagine the "little sentence" can be many things, depending on the person. Mathilde Froustey described POB school this way: And Maria Kochetkova, reminiscing about life at the Bolshoi:

For those looking forward to more story ballets, and Program 5: Don Quixote...Froustey as Kitri and Dulcinea https://www.youtube.com/watch?v=RNn9h-kFXNw

Yes I have - that was one of the high points of the SFB segment for me. Possokhov is really entertaining. I've learned recently that someone I work with takes adult ballet classes with Possokhov - she thinks he's a genius. ;)